viernes, 24 de noviembre de 2017

The «Ballet de Catalunya» is already underway and after what was seen in the Presentation Gala of the company, we can only hope that this magnificent project is consolidated. They deserve this and we need them.

Carolina Masjuan

"For three years, they have been sowing the seeds, designing a custom-made project for Catalonia with international projection to be enjoyed by our esteemed audience.

Alessandro Burini in PaquitaPhoto: Josep Guindo

The project was based out of concerns and sensibilities of people and institutions who were searching for a way to bring the best dance here, giving Catalonia the image it deserves. Throughout difficult yet enthusiastic years, people from all over have come together with the original promoters from day one in order to arrive where we find ourselves today.

Not only will we see 19 incredibly talented dancers but a great amount of courage on display. Effort and enthusiasm can only begin to describe what these dancers bring to the performance. Let them express how they feel through the best way they know, because words would never be enough to express what they want to say.

The presence of all who are here today is immeasurable and we would like to thank each and everyone of you. And above all, we express our gratitude to the city of Terrassa for welcoming the Catalunya Ballet.

Thanks to all who have come from near and afar. We hope you feel at home and we will continue to come back in the immediate future"

This was how the Ballet de Catalunya presented itself to the audience that filled the Terrassa auditorium on the afternoon of November 19, the day of its presentation.

The dancers of the Ballet de Catalunya (BNC) have been selected from a total of 200 candidates and are in Terrassa betting on this project aware of the difficulties, but delighted with the experience and the prominence that gives them being the first dancers of the BNC.

Mathilde Marlin & Lorenzo Misouri in Corpo.
Photo: Josep Guindo

And for the ballet public, who came quickly to discover them, it is a dream to have our company, to become familiar with them, to follow their evolution, enjoying some more in a certain style, others in another. Surprising ourselves when discovering qualities that we had not detected, respecting them, admiring them, even loving them as close beings, so necessary in our lives. Artists that bring us peace, emotion and joy in times when we need all this so much. In short, living it intensely, much more than any ballet lover from another country, given that we have been denied to have this for so long.

Exciting to discover among the public, teachers, former directors of companies, choreographers of the country who, generous, support the project and tend ties, as it should be. Feeling that on the other hand this is reciprocal, since from the management team of the Ballet of Catalonia the company is open to anyone interested in contributing and collaborating. Mrs. Mercedes Ribera, who at 103 years old is a tireless follower of Ibstage, could not miss this inauguration Gala, as we also discovered admired the ex-étoile of the Paris Opera Ballet, Hélène Trailine with whom the dancer Elías García, Artistic Director and teacher of the BNC, took some ballet classes while dancing with the Ballets of Montecarlo.

It's a project that really thrills, the more you know it more and the more you know its dancers more and the more you see them working in class, rehearsing and now in this first show, even more. A consolidated team, with Leo Sorribes at the front, Elías García and Larissa Lezhnina, she to a lesser extent, in the artistic part, Marina Quera in the administrative and financial part, Gina Nunura and Martina Montorfani, in costumes and the teachers, apart from Elías himself, Ángeles Lacalle, Gloria Gella and Ksenia Korobchanskaya, who also acts as a repetetor, polishing, improving, taking care of style details, as well as Ricardo Alegría as technical manager and lighting design.

The Cultural Center of Terrassa, which celebrates its 35 years of dance season, being a reference in this art throughout the Spanish state, is hosting its headquarters. So the Company could not be presented any were that there. The Opening Gala showed a very young cast, dancers from Japan, Italy, Russia, Ukraine, Portugal, France, Germany, Spain and, of course, including three young Catalans. They staged a varied program that in its first part showed fragments of classical ballet, neoclassical and more contemporary styles, to demonstrate the repertoire to which the company aspires.

The second part was devoted to the demanding work of the classical repertoire, Paquita, which was offered to us in the form of a suite for showcasing the soloist and principal dancers of the cast together with the dance corps.

It was a very exciting day, Elías explained that the most important thing in the company are the dancers and their goal is to make this project a reality in order to ensure a decent future in all respects, salaries, equipment, repertoire, training, and projection....

What we saw at the Gala were enthusiastic, excited and happy young people, full of talent and with great potential, who defended a program worked in just three weeks, in an admirable way. They can get much more, of course, as it is clear that they will achieve it.

Maria Luisa Yoshida in Paquita.
Photo: Josep Guindo

The first part began with a very beautiful choreography by Elías García, Ensemble, with music by Mozart, in which we were able to enjoy a large part of the cast and to discover the work of some soloists. It followed a Pas de deux of The Corsaire, well danced by María Luisa Castillo Yoshida and Leander Rebholz. The variation of the three odalisques of the same Corsaire, with Madoka Sasaki, Rebecca Storanni and Valeria Kuts was very celebrated, the three were great, each in its variation, the nerves were disappearing and the program was developing in an "in crescendo" that the public was enjoying more and more.

The most contemporary part of the Gala was the Pas de deux Plenitudo (2002) of Italian choreographer Raphael Bianco, danced by Júlia Roca and Lorenzo Misuri. Júlia, a former dancer of Ángel Corella's Barcelona Ballet and the Companhia de Bailado of Portugal, has decided to return home. What a pleasure to have her between us again. Júlia has always been a classical, elegant dancer with a strong stage presence, which did not prevent her from perfectly integrating this contemporary piece into her repertoire. Lorenzo, on the other hand, was revealed as an important asset of the Ballet de Catalunya, a very expressive and confident dancer who that day celebrated its twentieth anniversary.

The first part was closed with Corpi (2001), another creation of Raphael Bianco, with music by Rachmaninov, in which the dance corps and soloists participated. The bodies of the dancers in flesh colored maillots are shown in all their splendor, creating figures of great beauty. A work in line of that of creators such as Kylian or Wheeldon, which subjugates and transcends. The dancers were fantastic, Mathilde Marlín, already discovered in Ensemble, is wonderful here. She is the prototype of a ballerina, with stylized lines, a sweetness of movement and a beautiful expression, no matter what the style of the choreography is.

Rossanna Morelli in Paquita. Photo: Josep Guindo

In the second part, with Paquita's suite it was where the best potential could be discovered. This demanding work of classical ballet did not disappoint. The dancers have style and despite not being a uniform cast, its directors have been able to place each one where it looks better.

So, for example, the fantastic dancer, well known to us, Alexandra Urcía, 18 years old and who together with Júlia Roca and Mónica Gómez are the three Catalans in the cast, formed a trio with another small dancer of stature but also plenty of talent, Miho Okamura, 19 years, and both, with the magnificent Alessandro Burini, danced a Pas de trois loved by the audience. Monica, on the other hand, has just finished her training at the Corella Dance Academy and she told us how happy she was to have her first contract as a professional dancer in her own country. Having seen her very often in the year end festivals of the academy, where she always had roles of principal in whose she was always great, we are very happy for her and for us being able to follow her evolution closely.

The Paquitas, that of the beautiful María Luisa Yoshida, so exquisite in its variation and that of the spectacular Rebecca Storani, already well known and admired by the Catalan public, because of the Ibstage program and Galas and indisputable star of the company, with her spectacular pirouettes and fouetées. The two Lucien d'Hervilly's, Leander Rebholz and Lorenzo Misuri are surely other two values ​​of the cast. Several variations and the beautiful corps, completed a suite that allowed us to dream of a company that will give us great joys. Thank you very much dancers, all of you, for a very good performance that we enjoyed with great excitement.

Rebecca Storani in Corsaire. Photo: Josep Guindo

This company has to consolidate itself as our ballet company. This time, yes, please. Several ways of collaboration have been established so that it not only depends on public support. Now, despite the great interest shown by the Conseller of Culture, Lluis Puig and his entire department, is not yet signed, given the special circumstances of the Govern of Catalonia.

Private sponsorship is sought. As in many European cities, the main companies finance the dance companies for identifying themselves with the ​intrinsic values to the art of ballet. We hope that they can find here brands that recognize and want to take advantage of the prestige that would suppose for them to have such a powerful image.

Madoka Sasaki & Lucien Vecchierelli in Corpi.
Photo: Josep Guindo

Beauty, quality, perfection, or the closest to it, can only be achieved through effort. Porsche for example, sponsors the Stuttgart Ballet. The image of Alicia Amatriain, light, subtle, aerial, ethereal, but at the same time strong, secure with steel tips nailed to the ground in an impossible balance, is extremely convincing and transmits in an unequivocal way the values ​associated with a high level dancer: Perseverance, tenacity, physical and psychic strength, discipline, ambition, effort, capacity for suffering and overcoming, tolerance, teamwork, ... Values that any brand would surely be proud to transmit, without forgetting the plastic beauty of a good dance image.

The Ballet de Catalunya is a private institution promoted by the Foundation of the same name. The great challenge of the Foundation is to position Catalonia as a national and international point of reference for the creation, awareness and diffusion of the art of dance. At the same time it is presented as an accessible institution to all those who want to enjoy the dance whatever their nature (public or private).

The Ballet de Catalunya seeks to be present in the best theaters, but also wants to reach the public by offering services adapted to different formats and proposals of all those who want to incorporate dance into their celebrations, events, institutional events, popular festivals and a long etcetera. They offer interesting tailored proposals, depending on the number of dancers, time and number of performances, with different formats and stagings.

Julia Roca in Paquita. Photo: Josep Guindo

Tailor-made shows are designed according to the needs and desires of the client who has the possibility to visit the company and choose the dancers, if interested please visit here.

Likewise, the Ballet of Catalonia is in search of funding and funds from patronage and sponsorship. They offer diverse formulas adapted to any type of proposal, either with contributions to the activity (productions), sponsorship of dancers and Trainnee students and financing or contributions to face the investment of the Headquarters of the BNC.

Collaborating in the search for these needs is also a way of contributing, as well as proposing the project to potential sponsors. They are open to receiving proposals as they comment on theirwebsite

For our part, we are eagerly awaiting the Nutcracker, which will premiere on January 4 at the Kursaal Theater in Manresa and for which there is already more than half capacity sold. Tickets here.

viernes, 29 de septiembre de 2017

Sila Avaakum taking pics of students of the Bolshoi Ballet Academy
in the beautiful city of Urbino.

The Bolshoi Ballet Academy of
Moscow chose for the second consecutive year the Italian City of
Urbino, World Heritage site of Unesco, to carry out its Summer Course. We learnt about this
collaboration and wanted to know more. We hope our readers will enjoy
this article as much as we did learning and writing about this
interesting initiative.

Carolina Masjuan

Some years ago I met Francesca Bottacin,
Doctor in Art History and Professor at Università
degli Studi "Carlo Bo" of Urbino, thanks to the Summer
Course and Galas that Ibstage organizes each August in Barcelona.

She was giving lectures to the talented
students following this course that during three weeks gathers the
most relevant dance teachers: Anna Maria Prina, Piotr Nardelli, Elías
García, Xiomara Reyes, … impossible to mention all of them
(please find link here),
finishing with two outstanding Galas with ones of the best
dancers in the world such as Daniil Simkin, Marianela Nuñez, Vadim
Muntagirov, Alicia Amatriain, Lucía Lacarra, Anastasia Limenko,
Evgenia Obratzova, Kimin Kim, Gonzalo García, Ashley Bouder,
Tiler Peck, and a never ending list of the very best...

So, we had the chance with Francesca to
share thoughts and talk about our passion. When she explained me
about the Bolshoi Academy course in Urbino, I immediately felt
interested to know more. And at the end it seemed to me that it would
be worth to write an article and share it in our web Ballet y más.

For two consecutive years the famous Academy
of Dance of the Bolshoi of Moscow chose the Italian city of Urbino as
the venue for its summer courses. This year they were present in
the city from 17 to 28 July.

Sila Avvakum making a photograph
of a ballerina in Urbino.

This year, the City of Urbino, together with the
"Carlo Bo" University and its spin off Lingua Ideale,
Italian language center and culture for foreigners, in synergy
with the Russian Ballet International, wanted to enrich this
initiative with further cultural content involving the whole city,
with the aim of enhancing the prestigious presence of the
Academy of Moscow and its pupils from all over the world.

Monday July 17, in the meeting room of Palazzo
Ducale (formerly the Winter Garden) to inaugurate this second edition
of the Bolshoi summer school and to welcome the dancers, there was an
exceptional guest: the étoile of the Scala, Luciana Savignano, who
also trained at the Bolshoi and who presented her biography
"L'eleganza Interiore" (Gremese Editore, Rome) on the
occasion of this venue. To present the book, together with the
author, was the dancer and historian of dance Emanuele Burrafato.

The conference was introduced by Irina Pyatkina,
who was étoile of the Bolshoi and currently is a teacher at the
Academy and Honored Artist of the Russian Federation.

For official greetings, there was present Vilberto
Stocchi, rector of "Carlo Bo", Maurizio Gambini, Mayor of
Urbino, and Vittorio Sgarbi, famous italian Art Critic. The
meeting was coordinated by Francesca Bottacin as scientific director
of project and Dmitry Povolotzky from Bolshoi Ballet Academy and Director of Russian Ballet International.

Sila Avvakum shooting inside the theather in Urbino.

Monica Ruggeri, as responsible for cultural activities and events of Lingua Ideale, also took part in the initiative as it also did Counselor Marianna Vetri, who has believed in this project because of the high cultural value it brings to the city and at the University of Urbino and who followed with enthusiasm its realization.

As presented during the inauguration ceremony,
interesting activities took place in this edition: the presence
in the city of the famous Russian dance photographer Sila
Avvakum and the new collaboration between Bolshoi Ballet Academy
and FIMA (organizer of the Festival of Ancient Music of Urbino)
carried out with the participation of the National Gallery of the
Marche.

As far as Sila Avvakum participation is concerned,
it has to be outlined the Dance Photography Exhibition of her work;
Sila being the official photographer of both the Stanislavskij
(before in Mariinsky) and Ibstage. Urbino, the amazing city with
such a great cultural heritage was the perfect environment to
appreciate her shots. Sila herself was truly moved to see her
photographs on those palaces, gardens or theaters, especially in
wonderful painter Rafael birthplace.

Please find a
link to a videowhere you can learn more about and watch a bit of
the wonderful spectacle gathering dance and live antique music. A
gem.

Sila Avvakum and students of the Bolshoi Dance Academy
Summer Course inside the house where Rafael was born in Urbino.

When a city,
its citizens, are truly interested on Art and the cultural
organizations on it share this passion, then great things can be
accomplished. We congratulate everybody involved on the organization
of such an event and encourage others to follow this example.

martes, 6 de septiembre de 2016

Another Ibstage edition took place in Barcelona
and again it has been a great success of participation. For three
weeks, around hundred and sixty young students from twenty
nationalities, have followed the classes of some of the best teachers
from the most recognized international schools. At the end, they
danced in two galas with some of the most acclaimed ballet stars, in
a Liceu with almost no seats available.

Carolina MasjuanAs in previous editions, the holiday month par excellence has forced many vacationers to return a few days in Barcelona to enjoy this unparalleled event. Three weeks of classes and open rehearsals with free attendance at the Institut del Teatre and two Galas of the highest level at the Liceu, have called for ballet-addicts who took advantage of such an opportunity.

Vadim Muntagirov and Daria Klimentova
Foto: Josep Guindo

We spoke with Leo Sorribes, Ibstage director, along
with Xiomara Reyes and Elías García (art directors) and he told us
that Ibstage is consolidating thanks to the increased support they
are receiving and to the interest of prestigious schools such as
Royal Ballet, English National Ballet, JKO in the USA,... who
recommend their students to follow these courses in Barcelona. Many
students also come from Japan and Italy and a still small percentage
of Spaniards, around 35%.

"In addition we can speak of a “IBStage
audience” as tickets were almost sold out. We calculate an
occupancy close to 90%" tells Leo and he keeps on "for next
year my dream is that we can have live orchestra in the Galas."
It also should be noted that dance schools have promotions of 40%
discount for good locations in different areas of the Liceu for
teachers and local students to not have to miss the show for economic
reasons.

Students of Ibstage in Paquita.
Foto: Josep Guindo

But Ibstage isn't only about ballet classes taught
by the best teachers of the best schools, it is also a platform for
many of its participants to find contracts with companies such as
Houston Ballet (Samuel Rodriguez), Royal Ballet (Maria Luisa Ishida),
or American Ballet (Paulina Gaski) the three winners of the 2015
Ibstage awards. This year we already can mention the young Jarod
Curley who will join the ranks of the American Ballet.

In addition to the many scholarships offered
either by the Ibstage itself and by its sponsors, mainly the Banco de
Sabadell, other opportunities are given. Jan Spunda and Kyono Chantal
Morin winners of the Junior OWPD Prize "On Stage With a
Principal Dancer" will dance a pas de deux in the next year
Galas. The main OWPD prize went this year to the Italian young dancer
Gloria Benaglia. She will return next year and will share the stage
at the Liceu with one of the great guest dancers.

Andrey Ermakov and Oksana Skorik.
Foto: Josep Guindo

Regarding the Galas, it is absolutely fantastic to
see all these stars sharing the stage with students. Their generosity
and the magnificence of their art are an example and an encouragement
for the new generations that are coming up.

Meanwhile, the young dancers learn the
choreography with the possibility to dance different fragments in
which everyone can participate. It is very clever and also very
original the way the participation of the guests and the suite of the
classical ballet are structured for the Galas. Also an educational
talk about the ballet "Paquita" which was the one
represented in this edition, was given by Professor of Art History at
the University of Urbino, Francesca Bottacin.

It has been a plus for
the students who were able to learn of it and also helped them to get
more involved in the role. Five pianists in total, Roberto Infiesta,
Ismael Elberdei, Carlos Silva, Rocio Sevares, Oscar Machancose were
responsible for ensuring the accompanying music during classes.

The young dancers opened the Gala with the usual
Défilé, choreography by Elías García and music by Anatole Liadov.
It's always exciting to see them appear as professionals despite his
youth and all the Liceu getting embroiled by their enthusiasm and
excitement. The climax of the second part arrives with the Paquita
suite, choreography by Marius Petipa, music by Edouard Deldevez and
Ludwig Minkus with adaptation and staging of Elias Garcia, Xiomara
Reyes and Rinat Imaev.

Steve McRae and Iana Salenko.
Foto: Josep Guindo

The participations of the young dancers were marked
by their technical skills and enthusiasm. The level of the guys was
really great and among the girls we can mention Alexandra Urcia who
leaded the series of fouetés at the Grand Final, alternating simple and double fouetés with other ballerinas joining her up to the
conclusion of the series. The extremely musical and delicate young
Italian, Gloria Benaglia (winner of OSWPD) that captivated us in her
solo in the Adagio and also the charming little dancer, Sarai Omi.
However it is very difficult and unfair to talk about students
because honestly every one deserves a mention. Please find the
complete list at the end of the article of those who performed at the
Gala, as they all should receive our gratitude for these two evenings
of good ballet.

Ada González and Xander Parish.
Foto: Josep Guindo

And if when talking about ballet "sublime"
is often a word that comes to mind, I can not imagine right now a
better example to represent this than the performance of Ada González
as Giselle. Ada is one of many Catalan dancers forced to emigrate.
After training at the Centre de Dansa de Catalunya, Ada began his
career in the Ballet of Sibiu, Romania, where the following year she
was already Principal, dancing all the leading roles of the classical
repertoire. Now she will join the main company in Romania, the
Bucharest National Opera.

Ada thrilled the Liceu audience with a wonderful
Giselle in the Pas de deux of the second act, which requires a
mastery of technique while a sensitive and emotional interpretation.
Her partner was the handsome Xander Parish Principal at the Mariinsky
and both achieved that many of us found ourselves with nearly tears
in our eyes while applauding enthusiastically.

Larisa Lezhnina and Juanjo Arqués.
Foto: Josep Guindo

The Spaniard Juanjo Arques and Russian Larisa
Lezhnina contributed with the most contemporary piece, the Pas de
deux of Black Cake by Hans van Manen, choreographer they both know
well because of their links with the HET Nacional Ballet. With music
by Stravinsky "Story of a Soldier" it was a delight to know
more about this choreographer that is not often seen here and to be
able to appreciate his work by means of these two great performers.
The response of the audience confirmed the success it was to include
this fragment in the Gala.

As for the other proposals, we must speak of high
voltage wit the Black Swan of Australian Steve McRae, Principal at
the Royal Ballet and the Russian ballerina, Iana Salenko, currently
principal at Ballet of the Berlin Opera; The Corsair of Oksana Skorik
and Andrei Ermakov, who also danced Scheherazade, choreography by
Agrippina Vaganova and music by Riccardo Drigo, on Sunday and the
D.Q. of Daniil Simkin, principal of ABT and very loved and admired at
the Liceu, where he has danced in several occasions, including last
year Gala of IBStage, and the young Russian ballerina Tatyana Melnik
star at the Hungary Opera Ballet.

Her Kitri variation in the coda surprised to be
different to what we are used to and delighted us. Her entrance with
its liveliness, her balances and fouetés with fan where really
outstanding. Some Pas de Deux we usually see in Galas but each one
bringing its distinction and unanimously celebrated by an audience
completely captivated.

Tatyana Melnik. Foto: Sila Avvakum

The masterpiece it is Balanchine's Tchaikovsky PDD
amazed us by the musical and charming Lauren Curbhertson Principal at
the Royal Ballet, who on Saturday also offered us the PDD of the third act of
Sleeping Beauty with Xander Paris. Vadim Muntagirov, currently principal of the Royal Ballet, once again delighted us with his high and elegant dance, either as a partner of Laureen in Tchaikovsky PDD, and with Daria Klimentova who was his usual partner at the English National Ballet, in Mashkovsky Waltz.

Steve McRae. Foto: Josep Guindo

This piece with choreography by Vasilij Vainonen and music by
Maurice Moszkowski, is a magnificent and unknown work for most of us, with
spectacular jumps and lifts while very musical. It has been very
loved by an audience completely dedicated. Daria, also present in other editions of Ibstage was a Principal at the English National Ballet and she is currently a teacher at the Royal Ballet School.

Two exciting solos completed the participation of
the guest stars: Iana Salenko was wonderful as the Dying Swan... what
an arms and what an interpretation! She left us speechless.. and
Steve McRae returned with overflowing energy with his solo of tap
dancing, Something Different, choreographed by himself with Tap
music. Fan of this discipline after having had to learn it because of
the role created for him by Christopher Wheeldon in Alice in
Wonderland, he was spectacular and the Liceu response was truly
passionate.

Paulina Waski who won the 2015 OSWPD Prize, could
not enjoy the opportunity to share stage with a Principal Dancer in
Galas, as she had a contract with the ABT and these days the American
company was in Paris, invited by the Paris Opera Ballet, to dance at
the Bastille the Alexei Ratmansky's Sleeping Beauty, in which she
already has a solo, the Sapphire Fairy variation.

Daniil Simkin. Foto: Sila Avvakum

And we can not forget to mention the Liceu audience.
The audience of the IBStage Galas was there because they love dance,
an art they respect, they value and because they form a community
very grateful to have such a unique opportunity in Barcelona and
probably all over the word, to enjoy in a single show the dance of
some of the greatest stars worldwide, together with passionate and enthusiastic young talents who are called to be the
stars of the future. Each and every one of the attendees was truly
moved and excited and demonstrated their feelings by a warm
acclaim.

Moreover, thanks to the Visual Producer, Carmen
Tanaka, the Galas could be seen live worldwide in streaming with a
total participation of about 12,000 people. From these recordings two
DVD's will be available shortly.

A perfect show from start to end for two evenings
to never forget. Ibstage, we are looking forward to seeing you next
year!!!

domingo, 26 de abril de 2015

Kazuko Omori has been an icon in Angel Corella's
company. She was with the troupe from the very beginning and she
remained up to their last performance in January this year. Settled
down in Barcelona, we have had the pleasure of interviewing her and
if as an artist we already admired her so much because of the quality
of her dance, her command of the technique but also and mainly
because of the way she reached the audience; behind the outstanding
artist, we discovered a very nice person, kind, simple and humble but
tenacious, strong and brave who completely captivated us.

Carolina
Masjuan

Kazuko in A+A. Corella Ballet. Foto Josep Guindo

How did you become interested in dance? There was a dance school near home and my mother asked me if I wanted to
see how it was, so we went and I liked this very much and said I
wanted to dance. I was four. As a child, I did not like the
discipline but I loved the skirts, the leotards and tutus and so
on... that yes!
I liked it
very
much!! I wanted to get my pointe shoes immediately and I was
disappointed when seeing this was not that way and that I would have
to wait for long he,
he....

Are there many differences in the conception of
dance between Japan and Europe? I
think that in general,
the system and the way of working are similar, but in Japan we have
another culture, there is the Kabuki, the Noh theatre, ... and money
goes to enhance our culture more than to the dance which is not
something typical from our country. Companies do not get subsidies,
only the National Ballet gets aids and dancers have a salary, but
this is an exception.

Take the Tokyo Ballet for instance and in general
all the other companies too, they get funds from their own schools
that use to have a lot of students. The incomes of the schools are
allocated to the company and even generally dancers pay to be able to
dance. Families finance that way the companies that can also have
private sponsors. In many cases, when families are not so wealthy, dancers collaborate in other ways, selling tickets, teaching ballet
or even they have another job as salesperson, waiters, etc... So, you
see, we complain here but in Japan it is much worse. There, being a
dancer is really vocational, because the sacrifice is huge. Although
in many cases, dancers come from wealthy families and for parents it
is a prestige that their children are dancers.

Kazuko Omori. Foto Manuel
de los Galanes

What has been your career path? Since
I was four years old up to sixteen I was a student in Japan and when
I decided that I wanted to be a dancer I joined the Flanders Ballet
School.
I stood there for two years and then I joined the company for one
year. In Japan we work a lot, Saturdays, Sundays and bank holidays
and there are less holidays.

So I thought that in Europe I could
relax a bit more but it was not. In
Flanders we worked very much: classical dance, repertoire,
contemporary, pas de deux, jazz, character dances, Spanish dances…
furthermore I didn't know the language, we talked in English of
course, but I perceived that I didn't fit there and it was also quite
a hard time too.

When I finished the school, I didn't get hired by
the company immediately and I did many auditions without any positive
result, but in June, when I thought that I would not get any
contract, there was a vacancy in Flanders Ballet and they offered me
to join.

But that environment was very closed, we all were from the
school and I didn't feel comfortable enough there so I decided to
leave. Again I started auditioning but again I found nothing and at
the end I left to Hong Kong.

I was offered a position at the Hong Kong Ballet
without even seeing me. Only with a video I got the contract, so I
was very happy and furthermore I was closer to Japan. I think it has
been a matter of good luck, my video came at the right moment and in
Hong Kong it is very easy to get a visa so I headed to and I stood
there for three years. But soon I realized that I was used to the
European style and that there it was really, really hard!! Like in
"Mao's Last Dancer" film! you know? It was so similar to a
military academy! (laughs), and in addition nearly all
people were Chinese, except the Manager, Stephen Jeffreys ex
principal dancer at the Royal Ballet and his wife, with whom things
were going on very well but the second manager had a total Chinese
mentality and the exigency both physical and mental, was nearly
inhumane.

And as I was not Chinese and had trained in Japan
and Europe, I felt that I was not fully accepted, neither my way of
dancing. I got many injuries because it was about: 100% classes, 150%
rehearsals and 200% stage, non stop, not a single moment of relax, it
was incredibly hard... I coped with it for three years, most
Europeans do not resist a single year, it is too hard that discipline
and rhythm of theirs. But I have to recognize that I learned many
things, to be strong, to be patient, ...

At the end I collapsed, I went back home and being
twenty two l was thinking about my future and what to do and even if
I knew I was strong, I decided to take a year off and meditate about
my life, I still could study at the university and try other things.

As Nikiya in a rehearsal with Natalia
Makarova and with Ángel Corella asSolor. Foto: Rosalie O'Connor

But after six months or so I came back to take classes and I was lucky enough to meet my teacher, the Slovenian Leo
Mujic, ex dancer at Montecarlo Ballet and at the Forsythe Company and
also choreographer for the Berlin Ballet among others, who got to
advice me very well and who I respect very much as he has been a very
important person in my career. I remember the last thing he said
when I already was First Soloist at Corella Ballet: ”Do not
accommodate in your current position!”. I knew he was very happy
for me for all what I had achieved but he always pushes me and
encourages me, even if sometimes he seems to be somewhat harsh, I
know this is part of his esteem to me... so, these are topics that
are part of professional dancers life, one has to assume that there
is only with very hard work, always learning new things each day,
being open minded, that one keeps on making progress....

But back to that time when I was deciding what to
do, he told me that I should prepare myself to go back to auditions.
I did that and I went to Germany as from there I could easily reach
many cities with dance companies, so it was a good place to stay to
try to have good luck. But there was always the same, I spent three
months doing auditions, public, private, and nothing at all. Then I
moved to New Zeeland and then to the USA but the style there was very
different, very fast steps and a rather different way of moving too.
I also made some auditions but at that moment I didn't fit there, so
I came back to Germany and Leo, my teacher in Japan, said: “you
have to decide what is the company you do really want to join””with
this mentality of yours that you have to accept whatever you get
offered, you can't look for a job!!” (she laughs as she remember
this) but it was not that easy, you could have an objective but
it didn't work... and I wanted a job allowing me to live from dancing.

Don Quijote with Ángel Corella

And again more auditions and again no good luck at
all... but during this second season in Germany I had a friend in
Portugal who said me to go there to take classes and to see a small
company which director was a former dancer at the Gulbenkian Ballet,
César August Monis, who was doing some new works and so. I went
there and danced, even with no contract, in a project with his
company the Kamusua Ballet Company. In Portugal I met many people but
when the project ended I made more auditions but again with no
positive results and I went back to Japan.

And how has it been that you came to Spain?
Then,
as I wanted to work, I
started in a publicity agency although I kept on taking ballet
classes. I was just starting to work there when a friend told me that
a dancer in Spain was looking for dancers for a project with the
Barcelona Liceu Opera House. He was George Birkadze (who later
on joined Corella Ballet where he met her wife the American dancer
Ashley Ellis, now Principal at Boston Ballet) but I couldn't join
immediately because I had signed a contract with the agency and I
said, maybe in two months or so... and after a certain time I asked
and they said there still was a place for me, so I headed to
Barcelona.

Kazuko Omori. Foto: Manuel de los Galanes

But when I arrived it was not, there was no job free.. Nevertheless, I stood to visit the city and think about what should I do, furthermore, George felt a bit concerned because I had
travelled from so far away and he said he would help me to find a job, maybe at the Liceu or with the David Campos Ballet (a small company
in Barcelona). Those were possibilities so I stood... and then at the
Eulalia Blasi ballet school, while doing ballet classes... I happen
to meet Ángel Corella!! I already met him while going to the ballet
school, I introduced myself and we did the class together, he told me
about the tour he was preparing for Spain with some ABT dancers and
that a dancer, I think it was Erika Cornejo, who couldn't join and he offered
me her position.... So I started with the troupe with Ángel and from
there to his Company.

Stanton Welch's Clear with Corella Ballet.
Foto: Fernando Bufalá

In fact, I think there has always been as a kind of predestination with Ángel. When I was a student I happen to met
him at the airport in Tokyo. I was extremely shy but I made the
decision to ask him for an autograph but as I had no paper I asked
him to shake hands with me instead. He did and I felt that this was a
very special moment, as a kind of sign that in the future we would
meet again and we would dance together. I also think that even if during my stay in
Germany I got nothing, at the end it has been thanks to the people I
met there that I got that opportunity in Barcelona. A city that has
meant a lot in my life.

What are your memories of the beginning at
Corella's Company? Even unfortunately short, the
experience has been so exciting, at least for the audience, that you
know, we were absolutely enthusiastic and thankful for that great
adventure to which we participated thanks to the
kindness and generosity of the company staff and dancers.. did you
also feel that magic? I felt
that this was a dream, we all felt that project so ours and we saw
the illusion of the audience... it is incredible that such a so huge
achievement was left to disappear... mainly in Barcelona but
also in the entire Spain. One can not understand how, with a so great
talented dancers and a so devoted audience there is for ballet in
this country, this is not taken into account, it is really sad. I
will always be grateful to Ángel Corella to have allowed me to stay
in Spain and to have given me the chance to have those marvellous and
amazing experiences that have made me grow and hugely progress at
both personal and artistic levels.

A+A with Russell Ducker, Corella Ballet. Foto: Josep Guindo

You have been one of the rare dancers that has
remained with the company up to the end in January this
year, from the very beginning.Did you consider
any time about the possibility of leaving? No,
never. That was really my place, I felt very well there, I felt full,
I felt great and that made me grow very much as an artist, and in
addition there was the variety of styles we danced: repertoire,
Balanchine, Neoclassical, contemporary, new works created for the
company,... that have meant so much to me, to my training and to
complete me. Now I feel I'm prepared and able to face any new
challenge at any company, in any continent.

Can we talk about something totally out from
the strictly artistic stuff? It is because there is something that I
have always found both surprising and nice and it is the huge amount
of couples there have been in the Corella Ballet... was the ambience
that good that love appeared everywhere? (Laughs) I think
that at all Companies it is usual that some couples are formed, but
ours one has to think that it was located at La Granja, that very
small town where what can one do? It was so boring... At the
beginning it was ok but after a certain time it was all so
monotonous, Madrid was not that far away but the weather was awful
very cold and snowing, sometimes we even could travel, so it is
normal there wewre so many couples but yes! It is true that most of
them still are together, many even married (Without taking into
account those who joined being already couples, we could count at
least eight new, so quite a goodranking!!)

As Nikiya in a rehearsal with Natalia Makarova and with Ángel Corella asSolor. Foto: Rosalie O'Connor

Your case is also a bit special, isn't it? Do
you mind telling us about?I met Roberto because he rented
me a flat when I just arrived in Barcelona. As I had an open ticket
for three months, instead of staying at a hotel or a hostel I decided
to settle down and this was how we met. Roberto had lived two years
in Japan and although he didn't talk the language when he was there,
he studied it in Barcelona and now he can speak Japanese fluently.
This was how we met and how all started... You see that I have a very
strong conection with this city, Barcelona!!

Who cares? Balanchine, with Ángel Corella.
Foto: Fernando Bufala

Thanks Kazuko! And back to the company, is there something you would outline from that time? A special moment or memory? To
have had the opportunity to work with Natalia Makarova has been the
best experience I have lived in the dance world. We have been working
with Christopher Wheeldon, Twyla Tarp ballets, Stanton Welch, with
Ángel, with many good teachers, it has all been fantastic, amazing,
but nothing compared with working with Natalia Makarova. To have been
teached by her in private, having her at rehearsals, to share with
her those moments.... it has been something really unique and
extraordinary, something one has hardly access to and that I consider
a great privilege.

I think that you take classes, you are dancing
in many Galas or as guest in ballet companies, you also
go very often to Japan... what can you tell us about your
current plans and life? Yes,
since February 2015, I'm dancing as a free lance. I'm hired for Galas
or as a guest in ballet companies, I also teach ballet classes and at
the same time I take them at the Corella Dance Academy here in
Barcelona. And I go very often to Japan, I dance there in Galas, and
I have many opportunities to dance, I can't complain. Teaching is
something I love very much and what I think is preparing me for the
future.

This summer in Japan I'm going to dance Swan Lake
and to teach summer courses together with a teacher from the Paris dance
conservatoire. He gives the first class, then I teach repertoire and
at the end they do gyrokinesis session of master trainer. These are my plans for this summer, I
also will dance with a partenaire I have there in Japan, in fact I have two
with whom I get along very well and when any project arrives, we take
the chance.

A+A with Russell Ducker. Corella Ballet. Foto: Josep Guindo

I'm in a good moment now but, although I'm dancing
as a free lance and do not stop doing things, I would like to dance
in a stable way in a company again. It doesn't matter if it is in
Europe or in the USA, as after this experience of eight years with
Ángel, I can dance any style and any repertoire and adapt well to
any company.

We leave wishing Kazuko all the good luck in the
world, she truly deserves it. For sure we will miss her talent and
her beauty on stage, it is always a great source of inspiration to
see this ballerina. The company contracting her will be a very
fortunate one.